Knowledge of Conservation and Restoration

Conservation and Restoration of a Qajar Period Manuscript from a non-governmental Collection

Atefeh Sadat Sadr , Mehrnaz Azadi Boyaghchi, Niusha Momeni ,
Volume 1, Issue 3 (10-2017)

Abstract

Historical and cultural relics made of paper are among the most important artifacts of any culture and civilization and are valuable from a historical, artistic, scientific, economic, technical, and religious perspective. All paper materials change over time, so that this process cannot be completely stopped, but the speed of change can be controlled with conservation and restoration operations.
The manuscript studied in this research is a manuscript document belonging to the year 1287 AH, and the Qajar period.
The purpose of this research is to examine the used materials, pathology and finally to present a restoration plan for this manuscript. In this regard, after examining library resources, the fibers, glue, and materials used in the document were identified using laboratory studies, the type of ink used, and other tests for this document. Tests showed that the fibers of the document are wood and the sample contains a small amount of lignin, and the presence of starch and sugars was confirmed in the paste test. The acidity of the paper is 45.5 and the ink used in the document is of the metal-mazonite type and is sensitive to water. After completing the restoration stages of the document, the document was delivered to its owner.

Study and restoration of the Strappo wall painting, found in Hasht Behesht Mansion, Isfahan, Iran

Shokoufeh Roshankhah, Yaser Hamzavi,
Volume 4, Issue 1 (10-2021)

Abstract

A part of Islamic architecture studies are architectural arrays, which are actually an integral part of the architectural work. Among the most important architectural arrays of the Islamic period in Iran are mural paintings, which can be valuable in many ways. mural paintings can connect the audience with architectural works both aesthetically and conceptually. In order to preserve the valuable works of architecture, the first step is a complete and comprehensive knowledge of these works. If a historical painting has an ambiguous identity, it must first be known for correct restoration and display so that correct interventions can be made on it and correct decisions can be made for correct display. In the present study, a painting on canvas was found from the storage of Hasht Behesht Palace in Isfahan. At first, it was thought that it was a tripod painting, but after careful examination and comparative studies, it was concluded that this work was actually a mural painting that was separated from the substrate in the previous decades using the strappo method and placed on it. It is glued on the canvas. In this article, with the description of scientific investigations on the effect and comparison of paintings on canvas and murals and conducting various scientific experiments such as chemistry, EDS and FTIR on pigments and metal sheet and metal Leaf adhesive, to a relative knowledge We achieved about painting. Further, relying on the laws of cultural heritage and the principles and theoretical foundations of restoration, a decision was made for the restoration
intervention and the correct display of the work, and the executive operation was carried out on it.

Research Paper Evaluation of the restoration and technology of tile decorations of Safavid domes in Isfahan from the beginning to the present (Case study: Dome of the Abbasi Grand Mosque, Sheikh Lotfollah Mosque, Chaharbagh School)

Sahar Ahmad Khan Beigi,
Volume 7, Issue 4 (2-2025)

Abstract

The survival of the mosaic tile arrays of Safavid-era domes in Isfahan has been based on the committed cooperation of craftsmen, architects, and artists in this field. There is a great deal of knowledge and skill, from the baking of tiles and plaster to the artistic execution of mosaic tiles, the preparation and processing of mortar and plaster slurry, and mastery of geometry, concerning the complex process of constructing and restoring the mosaic tile arrays of the domes. Given the historical, spiritual, and aesthetic values of the three domes under study, which are also considered symbols of the city of Isfahan, this research attempts to take a step toward-better protection and preservation of these domes. These studies, relying on the process and evaluation of the restoration of the mosaic tile arrays of these domes from the past to the present, have been carried out to understand and improve the restoration technique and eliminate its problems based on library studies, field methods, and data description and analysis in line with the discussions of dome tile restoration and preventing serious damage in the future. The results of the research show that careful attention to the restoration process and analysis of errors in all stages of tile making, mortar preparation, and tile installation contribute significantly to a principled restoration with minimal errors in the tile arrays of historical domes, and as a result, better protection of these masterpieces. Among the most important factors that are effective in improving the restoration process and preventing the implementation from becoming time-consuming are the existence of a comprehensive restoration plan, a management plan, continuous supervision, forming a group and consulting with experts from various related fields, and avoiding trial and error.

Research Paper Evaluation of the restoration and technology of tile decorations of Safavid domes in Isfahan from the beginning to the present (Case study: Dome of the Abbasi Grand Mosque, Sheikh Lotfollah Mosque, Chaharbagh School)

Zohreh Motalebi, Omid Oudbashi, Sohrab Veiseh, Dariush Heydari,
Volume 7, Issue 4 (2-2025)

Abstract

The survival of the mosaic tile arrays of Safavid-era domes in Isfahan has been based on the committed cooperation of craftsmen, architects, and artists in this field. There is a great deal of knowledge and skill, from the baking of tiles and plaster to the artistic execution of mosaic tiles, the preparation and processing of mortar and plaster slurry, and mastery of geometry, concerning the complex process of constructing and restoring the mosaic tile arrays of the domes. Given the historical, spiritual, and aesthetic values of the three domes under study, which are also considered symbols of the city of Isfahan, this research attempts to take a step toward-better protection and preservation of these domes. These studies, relying on the process and evaluation of the restoration of the mosaic tile arrays of these domes from the past to the present, have been carried out to understand and improve the restoration technique and eliminate its problems based on library studies, field methods, and data description and analysis in line with the discussions of dome tile restoration and preventing serious damage in the future. The results of the research show that careful attention to the restoration process and analysis of errors in all stages of tile making, mortar preparation, and tile installation contribute significantly to a principled restoration with minimal errors in the tile arrays of historical domes, and as a result, better protection of these masterpieces. Among the most important factors that are effective in improving the restoration process and preventing the implementation from becoming time-consuming are the existence of a comprehensive restoration plan, a management plan, continuous supervision, forming a group and consulting with experts from various related fields, and avoiding trial and error.

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